Yaniv Dinur

Assistant Professor
Department of Performing Arts

Additional Positions at AU

Director of Orchestral Activities

Yaniv Dinur is the winner of numerous international conducting competitions: the Eduardo Mata International Conducting Competition in Mexico City (2009), the Yuri Ahronovitch First Prize in the inaugural Aviv Conducting Competition in Tel Aviv (2005), a grant recipient of the America-Israel Cultural Foundation and The Zubin Mehta Scholarship Endowment. In 2011, he was chosen by the League of American Orchestras to be a featured conductor at the Bruno Walter National Conducting Preview. He has conducted orchestras in the US, Canada, Portugal, Italy, Russia and Mexico. In Israel, he has conducted most orchestras including the Israel Philharmonic Orchestra. Yaniv Dinur has worked closely with such world-class conductors as Lorin Maazel, Michael Tilson Thomas, Pinchas Zukerman and Kurt Masur. He studied conducting with Prof. Kenneth Kiesler at the University of Michigan, and in Israel - with Dr. Evgeny Zirlin and Prof. Mendi Rodan. Yaniv Dinur also lectures regularly about the connections between music and the visual arts, a subject that he has been exploring in the past decade. In 2012, he founded the conducting studio at the Conservatory of the Jerusalem Academy of Music and Dance.

Degrees

Doctor of Musical Arts, Conducting, University of MichiganArtist Diploma, Conducting, The Jerusalem Academy of Music and DanceB.MUS, Conducting, The Jerusalem Academy of Music and Dance

Office

CAS - Performing Arts

Katzen Arts Center

Contact Info

For the Media

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Scholarly, Creative & Professional Activities

Selected Publications

Moravec, Bach, and Where's Waldo?

In the corner of my eye, I see people gathering around us. Some of them are standing, others are sitting on the floor, several are holding their phones and filming. The Phillips Collection, America's first museum of modern art, is open late on Thursdays, and the Phillips Camerata and I have become one of the exhibits.

A small smile sneaks onto my face, but I am trying to remain focused on the rehearsal. Paul Moravec’s Brandenburg Gate, one of the pieces on the program for our Sunday concert, constantly switches between time signatures and consists of complex rhythmical patterns that often work against the meter changes.